WEBVTT

NOTE The Economics of Modernism (video)

1
00:00:00.000 --> 00:00:02.000
The Theory of Money and Credit

2
00:00:30.000 --> 00:00:49.000
We're halfway through, believe it or not, five down, five to go, and we've made it to the 20th century, and my topic today will be, this afternoon will be modernism.

3
00:00:49.000 --> 00:00:57.000
My epigraph is taken from an epigraph in Paul Berlain's book, Loss of Money in the Market, which is Edward Pound writing to James Royce in 1918.

4
00:00:57.000 --> 00:01:02.000
Why in Christ's name, we are all millionaires? I don't know.

5
00:01:02.000 --> 00:01:09.000
But the thing is that that manifests a certain fundamental attitude in modernism.

6
00:01:09.000 --> 00:01:17.000
To go back to my initial parable of the cave, where I try to define the fundamental artistic transactions,

7
00:01:17.000 --> 00:01:25.000
let's go back to those cave man days and imagine some progress has been made, and one day our cave man artist says to the group,

8
00:01:25.000 --> 00:01:55.000
Well, things are a little different now. You guys still go out and kill the mammoth, and you still bring me the meat while I stay in the cave, except the drawing I'm going to do today, don't expect it's going to look like the mammoth, in fact, it may not look like anything, but don't let that upset you, and that drawing I did of the god of hunting to help you guys kill the mammoth, I'm going to cover it with mammoth lung today.

9
00:01:55.000 --> 00:02:00.000
I'm feeling impressed with today, but I still want to man this meeting.

10
00:02:00.000 --> 00:02:05.000
I'm sorry, but that's modernism for you.

11
00:02:05.000 --> 00:02:15.000
I'm going to ask you to rethink modernism today in light of what we've been discussing,

12
00:02:15.000 --> 00:02:23.000
and this may be my most controversial lecture, but maybe modernism needs some rethinking.

13
00:02:23.000 --> 00:02:38.000
And I want to do it in light of the fundamental issue that's emerging, I felt we could really focus on this morning, and it's the question, are artists better off being shielded from the market or actually being exposed to oppressors?

14
00:02:38.000 --> 00:02:47.000
And there's a simple answer to that, and I look at the example of a serialized novel in Victorian Britain, it shows that there are pluses and minuses to market pressure.

15
00:02:47.000 --> 00:02:52.380
that indeed we can see the novelists themselves complaining about commercial pressures.

16
00:02:52.680 --> 00:02:59.940
We can identify ways in which their novels became aesthetically worked because some

17
00:02:59.940 --> 00:03:05.920
of the commercial pressures, sometimes they're too long, sometimes they're too short,

18
00:03:06.240 --> 00:03:07.120
the commercial reasons.

19
00:03:07.360 --> 00:03:12.540
On the other hand, I've pointed out ways in which the commercial systems could,

20
00:03:12.540 --> 00:03:19.100
and, in many ways, improve their work through the feedback system of seeing what the audience

21
00:03:19.100 --> 00:03:24.940
liked and did like, of support, you know, one obvious factor in the commercial nature

22
00:03:24.940 --> 00:03:32.500
of 19th century publishing for us people to produce novels at the rate of sometimes two

23
00:03:32.500 --> 00:03:35.820
every three years, let's say.

24
00:03:35.820 --> 00:03:39.540
Sometimes they were rough because of that and maybe had less aesthetic value.

25
00:03:39.540 --> 00:03:42.540
On the other hand, we have more novels out of these people.

26
00:03:42.540 --> 00:03:51.540
James Royce took seven years to write Ulysses, and I think 13 years to write Finnegan's Way.

27
00:03:51.540 --> 00:03:56.540
In effect, we have three novels from his whole career.

28
00:03:56.540 --> 00:04:03.540
Now, maybe we should be thankful for that, looking at Finnegan's Way.

29
00:04:03.540 --> 00:04:15.540
But, you know, the output of 19th century novelists is much greater than that of the most 20th century novelists, especially the ones that we think of as artists.

30
00:04:15.540 --> 00:04:24.540
And, yes, individual novels may be more aesthetically perfect because the author took more time on it,

31
00:04:24.540 --> 00:04:29.540
But would you really like fewer novels out of Dickens in your terms

32
00:04:29.540 --> 00:04:33.180
for the few we had being more aesthetically perfect?

33
00:04:33.180 --> 00:04:38.780
There's a trade-off there between writing a lot of novels

34
00:04:38.780 --> 00:04:41.860
with some aesthetic failing and writing fewer

35
00:04:41.860 --> 00:04:43.420
that are aesthetically more perfect.

36
00:04:43.420 --> 00:04:47.260
That's a genuine trade-off and you can argue either side of the park.

37
00:04:47.260 --> 00:04:52.700
But I do want to suggest in just some sort of basic way simply this aesthetic

38
00:04:52.700 --> 00:04:55.980
and Commercial Pressure to turn out novels.

39
00:04:55.980 --> 00:05:00.280
It was very difficult on the novels, but in many ways,

40
00:05:00.280 --> 00:05:03.220
it may have left us with a richer world of literature.

41
00:05:03.220 --> 00:05:10.620
Now, as I talk about modernism, I want to think about it in these terms

42
00:05:10.880 --> 00:05:15.260
that it's specifically developed as an anti-commercial movement.

43
00:05:15.620 --> 00:05:20.660
That is, I, and a lot of people have been restating it that way.

44
00:05:20.660 --> 00:05:26.900
Lawrence Laney in his book, Institutions of Modernism, that I recommended to you, and Paul Delaney in his book,

45
00:05:26.900 --> 00:05:34.900
Limited for Money in the Market. So I, I didn't develop this theory. I'm just capitalizing on the work of others here.

46
00:05:34.900 --> 00:05:44.900
Again, the way modernism presented itself is that it's set off on this deliberate aesthetic port, and it happened to be

47
00:05:44.900 --> 00:05:54.980
and the Incompatible Commercial Consideration, but people like Lady and the Lady have suggested

48
00:05:54.980 --> 00:06:05.700
that in fact modernism set out to define itself in opposition to commerce, the Lady quotes

49
00:06:05.700 --> 00:06:14.220
Edward Pound at one point in some way formulating the essence of modernism, nothing written

50
00:06:14.220 --> 00:06:19.940
for Pay, it's worth printing, only what has been written against the market.

51
00:06:19.940 --> 00:06:25.580
And you can find a lot of these statements from Arnold Schoenberg about music,

52
00:06:25.580 --> 00:06:33.300
right down the line you can see the modernists exclusively defining themselves against the market

53
00:06:33.300 --> 00:06:39.660
by claiming that precisely if something is commercial it lacks artistic merit,

54
00:06:39.660 --> 00:06:45.560
and if something is not commercial, it must have commercial, it must have artistic merit.

55
00:06:45.960 --> 00:06:51.740
In fact, what I'm going to argue is modernism is the key source of our anti-commercial bias.

56
00:06:52.360 --> 00:06:56.780
That when you have an anti-commercial bias in culture,

57
00:06:57.020 --> 00:07:01.440
you're buying in to what is essentially a modernist myth.

58
00:07:01.940 --> 00:07:03.120
So how does that develop?

59
00:07:03.120 --> 00:07:09.300
It really develops in reaction to the emergence of a mass market

60
00:07:09.300 --> 00:07:16.420
for Culture for the first time ever in the world in the 19th century in England and in Europe

61
00:07:16.420 --> 00:07:17.820
and eventually the United States.

62
00:07:18.260 --> 00:07:23.800
This was a tremendous change in human life, an ethical change

63
00:07:23.800 --> 00:07:27.360
and it understandably did produce some interesting reactions.

64
00:07:27.720 --> 00:07:37.440
Before 1800, what we see of culture was a necessity and a lead phenomenon restricted

65
00:07:37.440 --> 00:07:40.760
to a really small part of society.

66
00:07:41.080 --> 00:07:44.060
Both Shakespeare and Love and Omidate have helped crystallize that.

67
00:07:44.060 --> 00:07:49.100
When we saw in both works, culture really revolves around the court,

68
00:07:49.580 --> 00:07:57.600
occasionally filled over into some popular areas and artistic endeavors like the theater

69
00:07:57.600 --> 00:08:04.600
or operetta, but basically when we now as cultural science look back at things before 1800,

70
00:08:04.600 --> 00:08:17.600
And we are inevitably looking at largely the elite phenomenon centered around aristocratic or in some cases church centers and somewhat spreading out.

71
00:08:17.600 --> 00:08:30.600
For example, in literature, you would have these two appear in literacy. Literacy rates were basically so low that if you talk about literature up to 1800,

72
00:08:30.600 --> 00:08:43.600
and talking about things that are being read by a couple of thousands of people, both because below literacy rates, the extent of this and so on.

73
00:08:43.600 --> 00:08:54.600
What populism made possible in the 19th century was the most productive literature, the spread of literacy.

74
00:08:54.600 --> 00:09:05.600
Richard Altman's book shows that, what's interesting in that book is he definitely considers every outsourced human profit attempt to spread literacy in England.

75
00:09:05.600 --> 00:09:15.600
Church organizations, wonderful philanthropists who would open up libraries for the poor and provide them with literacy for free.

76
00:09:15.600 --> 00:09:19.600
And one after another these projects failed.

77
00:09:19.600 --> 00:09:22.920
Why did you say we're not market oriented?

78
00:09:23.280 --> 00:09:28.960
You went to the wonderful free library and there was all this moral religious literature

79
00:09:28.960 --> 00:09:34.920
for you to read to uplift you and the working class stayed away and grows.

80
00:09:35.540 --> 00:09:39.940
Who made the English working class literate and gave them the habit

81
00:09:39.940 --> 00:09:45.500
of reading the capitalist book selling industry because it gave them what they wanted.

82
00:09:45.500 --> 00:10:04.500
Now, in the course of the 19th century, cultural elites were appalled at that result because what they saw was that the plight of widespread cultural literacy and making leading a habit was what they regarded as the states that it takes.

83
00:10:04.500 --> 00:10:16.820
When you think about the logic of the other world, you know, the 18th century news, as we see here, revolves around the poems of Arivander Polk,

84
00:10:16.820 --> 00:10:25.220
an administratively sophisticated, politically written poem, but they were read by hundreds and maybe thousands of people.

85
00:10:25.220 --> 00:10:40.220
The idea that you could take millions of people and get them to read post-Essay on Man or post-Essay on Citizens, that seems to be a numerical group thing.

86
00:10:40.220 --> 00:10:45.220
What is truly impressive is you could get them to read Dickens novels.

87
00:10:45.220 --> 00:10:53.220
I want to stress that we're talking about changing things here, but it's not necessarily a pure debatement far from it.

88
00:10:53.220 --> 00:11:00.220
And when you look at what was the basis of wise presidency in 19th century women, it's pretty impressive.

89
00:11:00.220 --> 00:11:04.220
So much so now that we assign those books in universities.

90
00:11:04.220 --> 00:11:16.220
So much so now that cultural pessimists lament the fact that the average college student doesn't read Dickens for pleasure, but instead goes to a movie or watches television.

91
00:11:16.220 --> 00:11:29.220
It's interesting to realize that in the 19th century reading a Dickens novel was looked down upon with the same contempt that people long looked down upon as reading or watching television and going to movies.

92
00:11:29.220 --> 00:11:40.220
I was actually astounded to go back and look at books attacking reading in the 19th century.

93
00:11:40.220 --> 00:11:41.220
and so on.

94
00:11:41.220 --> 00:11:49.060
There were substantial anti-leaning campaigns in early 19th century literature.

95
00:11:49.060 --> 00:11:56.580
People were convinced that this was destroying the working class, that they were picking

96
00:11:56.580 --> 00:11:58.700
up this habit of reading.

97
00:11:58.700 --> 00:12:04.380
A lot of, I'm not talking about this, this is for real, the whole book is written on

98
00:12:04.380 --> 00:12:11.940
on this subject, and it's a partially old moralistic campaign, the same kind of objections

99
00:12:11.940 --> 00:12:17.460
that were raised at Ludwig Mises Theater, that people said both the moralists were up there,

100
00:12:17.460 --> 00:12:20.140
you know, there's sex and violence and book race, there'd be media.

101
00:12:20.140 --> 00:12:26.220
But I was shocked to see that it was a more abstract, media-oriented argument.

102
00:12:26.220 --> 00:12:32.620
You know, a lot of people now object to politics not on the specific grounds of the content

103
00:12:32.620 --> 00:12:37.620
of the Program, but they would say it's a bad habit watching television.

104
00:12:37.620 --> 00:12:41.900
You get locked into it, you feel it's like a drug, you get addicted to it.

105
00:12:41.900 --> 00:12:47.860
What really surprised me was to see that that argument was made against reading novels in the 19th century.

106
00:12:47.860 --> 00:12:53.700
Martin Arnold's father, Thomas Arnold, the headmaster of Ludwig's School,

107
00:12:53.700 --> 00:12:59.900
one of the most prominent of Quentin's family, in which he condemned the horrible

108
00:12:59.900 --> 00:13:04.900
of Serialized Novels, and he said, it's just awful now,

109
00:13:04.900 --> 00:13:09.900
these kids can't wait for the next installment of the novel to come out,

110
00:13:09.900 --> 00:13:12.900
and they read it instantly, and they don't do their schoolwork,

111
00:13:12.900 --> 00:13:16.900
instead they want to read the novel, and they're hooked into it, they're addicted to it.

112
00:13:16.900 --> 00:13:21.900
I mean, he's not even saying anything about the content,

113
00:13:21.900 --> 00:13:25.900
but just about the habit of these serialized novels.

114
00:13:25.900 --> 00:13:55.900
Every time a new medium comes along that's popular, the intellectual, cultural, moral elite objects to it, you know, the late Plato objects to it. All these things now that we hold up on a platform and contrast with the basement of our culture, they were regarded as the base culture in their day, and indeed there was a real class panic in the 19th century, precisely as literacy spread to the middle and lower classes, and they were

115
00:13:55.900 --> 00:14:03.900
are finally getting real entertainment and have novels being written with that of Mises audiences that they could teach in as well.

116
00:14:03.900 --> 00:14:07.900
Again, many of them were no doubt trash, many of them have been forgotten.

117
00:14:07.900 --> 00:14:16.900
But all of the novels that we now teach in universities with masterpieces were in fact popular in their day, different degrees of popularity, of course.

118
00:14:16.900 --> 00:14:29.900
But this created a kind of cultural pattern in the 19th century, this sense that the old forms of the cultural elite were being displaced.

119
00:14:29.900 --> 00:14:43.900
One perfect way to see it is in the status of poetry. Going into the 19th century, poetry was regarded as the highest form of literature and almost as the essence of literature.

120
00:14:43.900 --> 00:15:00.900
So that you would teach poetry in university then, not English poetry, but Latin and Greek poetry, but still poetry, and anyone with literary aspirations to immortality, to be a great writer, would want to go into poetry.

121
00:15:00.900 --> 00:15:07.540
The book is, if you had the brains of the 1800s, you would have seen it as a novel of where to go.

122
00:15:07.540 --> 00:15:15.060
That a lot of great poetry has been written, and you want Salerno, Homer, Dante, and Shakespeare,

123
00:15:15.060 --> 00:15:20.740
but not too many great novels have been written by the enemies.

124
00:15:20.740 --> 00:15:28.020
In newer terms, the great history of the 1970s is in a way a shift in power from poetry to fiction.

125
00:15:28.020 --> 00:15:43.020
And much of the reaction at the time was a result of an older, poetry-oriented elite feeling it was losing its grip on the world of literature.

126
00:15:43.020 --> 00:15:50.020
So that, for example, the first Marxist criticism of popular culture comes from what the words were.

127
00:15:50.020 --> 00:15:57.020
Long before Marx, Ludwig was a member of the Francis School, 150 years ahead of time.

128
00:15:57.020 --> 00:16:07.520
Ahead of Time. In the process for the second edition of the Lyrical Ballads that Woodworth wrote with Coleridge that came out in 1800,

129
00:16:07.520 --> 00:16:17.520
Woodworth offers these poems as an alternative to the debate space of contemporary readers.

130
00:16:17.520 --> 00:16:42.520
And he gives a pure, cyclical argument. He says, people are more and more forced into cities, and their lives are becoming more and more monotonous, and as a result, they need sensation, their clothing is kind of morbid excitement, and they turn to these deep German dramas and gothic fiction.

131
00:16:42.520 --> 00:16:50.520
You know, because the industrial world has all their senses, and so their taste has been debased,

132
00:16:50.520 --> 00:17:00.520
and we're going back to the future and the countryside and the roots of school virtual,

133
00:17:00.520 --> 00:17:06.520
and our poems are a fuel for this. I think it's a fuel of fact and fuel of argument.

134
00:17:06.520 --> 00:17:26.520
He doesn't quite use this language, but he talks about urbanization, talks about all the things that the Marxists complain about in modern life, and also sees romantic poetry as a cure for that and an alternative to these debate forms of mass popular literature,

135
00:17:26.520 --> 00:17:36.300
and the German melodrama and the Dauphine novels with their sensational plots and their

136
00:17:36.300 --> 00:17:37.300
blood and gore.

137
00:17:37.300 --> 00:17:38.300
Of course, it's fascinating.

138
00:17:38.300 --> 00:17:41.300
It's only about four sentences in a question.

139
00:17:41.300 --> 00:17:46.300
It's a lot better reading in a dialectic and in logic than just outside of your head.

140
00:17:46.300 --> 00:17:51.300
We're going to say for about four sentences or a whole time we're going to take a whole

141
00:17:51.300 --> 00:17:56.300
book of purely driven tones to say, but it's important to see that there are arguments

142
00:17:56.300 --> 00:18:07.300
The reason it was made that early is I think it really gives a sense of the context for modernism and for much of the Marxist critique of commercial literature.

143
00:18:07.300 --> 00:18:21.300
The old elite didn't like what was happening. There was a great power shift going on and you can see the fact that going into the 19th century,

144
00:18:21.300 --> 00:18:31.700
Poetry was still a best-selling form of people like Walter Stock in his Scottish tales, like

145
00:18:31.700 --> 00:18:38.620
Marmion and Leo Latham's book, Lord Byron in his Oriental tales, like the Broward, the

146
00:18:38.620 --> 00:18:39.620
Rider-Bider.

147
00:18:39.620 --> 00:18:44.300
He sold really several amounts of bogs for poetry.

148
00:18:44.300 --> 00:18:49.300
Some of Byron's poems would sell 10,000 copies in a week.

149
00:18:49.300 --> 00:18:54.300
I used to be told I was going to be killed for that, and now I sell 10,000 copies in a lifetime.

150
00:18:54.300 --> 00:19:00.300
Now this business cycle, if you look at the violent poems that sold, they were hails,

151
00:19:00.300 --> 00:19:08.300
liberating a woman from her perfect harem, killing a falcon on the way.

152
00:19:08.300 --> 00:19:12.300
They turned out to be pretty blood and death themselves.

153
00:19:12.300 --> 00:19:18.300
Now one of the great cultural forms in the 19th century, 1816,

154
00:19:18.300 --> 00:19:41.300
Walter Scott's Written Poetry to the Novel, published anonymously to get a great reputation as a poet, and he didn't want to ruin his reputation by being caught writing something so vulgar as a novel, so he published his novels anonymously for many years.

155
00:19:41.300 --> 00:20:11.300
was a, it wasn't the greatest kept secret in British Murray history but it's a sign that he himself looked down upon novel writing as a way to make money but his novels were so successful that it really opened up the whole possibility that suddenly you can't see that there was a lot of money to be made in novel writing and people like Dickens came along to something more was even possible so what you have is this tremendous expansion

156
00:20:11.300 --> 00:20:19.620
In the 18th century there were books for the lucky that they sold hundreds of copies, maybe

157
00:20:19.620 --> 00:20:20.620
5,000 copies.

158
00:20:20.620 --> 00:20:25.620
The King of the Room is Founded, and our Frankenstein, for example, was written by Mary Shelley in

159
00:20:25.620 --> 00:20:26.620
the 1850s.

160
00:20:26.620 --> 00:20:29.620
I don't install it as a very successful novel.

161
00:20:29.620 --> 00:20:36.620
It turns out that in the whole of the 19th century it sold only 7,500 copies.

162
00:20:36.620 --> 00:20:39.620
I found that astounding when I was studying that.

163
00:20:39.620 --> 00:21:09.620
The Federal Reserve is a very good sale, it sold a lot of copies, it had the movie rights, we'd be a rich woman today, but still it gives me some sense of what we're talking about, how fast people were, ridiculous, selling 40,000 copies, 50,000 copies, 100,000 copies, that's a huge demographic shift in the industry, and it of course had consequences, 100,000 leading

164
00:21:09.620 --> 00:21:16.940
are not going to have the same pace as 500 years, though that doesn't necessarily mean

165
00:21:16.940 --> 00:21:22.940
that they have bad taste, that's of course what the old cultural elite thought, that these

166
00:21:22.940 --> 00:21:30.460
novels aren't bad taste, and in what respect we say no, but I mean in fact the Victorian

167
00:21:30.460 --> 00:21:36.900
public had pretty remarkably good taste, and as a picture they liked, and we still admire

168
00:21:36.900 --> 00:21:43.700
Today as models of fiction, but this is the cultural pressure that generated modernism,

169
00:21:43.700 --> 00:21:52.220
that a certain kind of author and artists in other fields felt this new pressure of

170
00:21:52.220 --> 00:21:58.820
the mass market, and we talk about the real effective commercial pressures, if you wanted

171
00:21:58.820 --> 00:22:05.740
that market, there were certain things you had to do, you had to write a certain way,

172
00:22:05.740 --> 00:22:12.660
Well, I think he kind of thing spoke to poetry and was an enormous bestseller in poetry.

173
00:22:12.660 --> 00:22:22.620
I think he was handed, I think, a £25,000 debt as an advance from a publisher for one of his poems.

174
00:22:22.620 --> 00:22:26.300
I think that's right. That's right. Millions of dollars for a poem.

175
00:22:26.300 --> 00:22:29.100
So, and that's it. None of these things happen overnight.

176
00:22:29.100 --> 00:22:34.820
It's not like, okay, 1850s, people who write poetry said they'd stop as well right now.

177
00:22:34.820 --> 00:22:35.820
of the World.

178
00:22:35.820 --> 00:22:40.820
Those are, but broadly speaking, you can watch the paintings in public place over the 19th

179
00:22:40.820 --> 00:22:49.820
century, a shift from a poetry-based popular literature to a novel-based popular literature.

180
00:22:49.820 --> 00:22:55.820
And you can see how the poets began to feel left in the dust and why they started to comment

181
00:22:55.820 --> 00:22:58.820
negatively against commerce.

182
00:22:58.820 --> 00:23:28.820
and Blake to see the perfect quality, and while the novelists are thinking of raising their posts to cities like Birmingham that are buying their books, but Ludwig was talking about an additive phenomenon now, and I'm sure more volumes of poetry were being sold at the end of the 19th century than in 1800, but relative to

183
00:23:28.820 --> 00:23:31.820
The novels being sold have looked bad.

184
00:23:31.820 --> 00:23:40.820
I'll start with Robert, this is a sign, I'll listen to Robert Darnton, the French historian on your new bibliography,

185
00:23:40.820 --> 00:23:47.820
because he spent his whole life looking at the French book brain, and he's written some remarkable books,

186
00:23:47.820 --> 00:23:51.820
this book on the French encyclopedia called The Business of Enlightenment,

187
00:23:51.820 --> 00:24:09.820
and the National Study of the Development of the Interest Structure of the Health Publicity Industry confirms much of what I've been saying about the human public interest industry, but he talks about the paradox of the situation of writers in the 19th century.

188
00:24:09.820 --> 00:24:16.200
As the publishing industry developed, never had writers had greater opportunities

189
00:24:16.680 --> 00:24:23.780
to get published and to make money, but that, at the same time, created immense frustration

190
00:24:24.440 --> 00:24:30.360
because some made so much more money than others, and you had a kind

191
00:24:30.360 --> 00:24:32.640
of revolution of writing expectations.

192
00:24:32.980 --> 00:24:39.300
As the markets opened up, and there were more and more opportunities to publish and more ways

193
00:24:39.300 --> 00:24:45.620
to make money from public aid, people in fact got more frustrated, because more people wanted

194
00:24:45.620 --> 00:24:52.820
to go into the publishing industry, into the writing industry, and they might, in fact,

195
00:24:52.820 --> 00:24:58.380
do much better than 18th century writers did financially, but they didn't, let's say,

196
00:24:58.380 --> 00:25:05.780
do a lot of difference, and Duncan talked about the generation of ending in the French intelligentsia.

197
00:25:05.780 --> 00:25:18.780
He goes back into the 18th century and sees it actually as one of the causes of the French revolution that precisely the expansion of capitalism made possible led to great frustration which was never enough.

198
00:25:18.780 --> 00:25:30.780
And he suddenly began to have the phenomenon of the unemployed intelligentsia, who people felt had been lured into running the promises of the other world.

199
00:25:30.780 --> 00:25:37.780
And so the generation of anti-commercial sentiment in the 19th century has a lot to do with that logic, you understand that, that it's not that capitalism doesn't deliver the goods, but it also doesn't deliver enough goods to sacrifice certain people, and if the people like schools, that means they're the most vocal people in this regard.

200
00:26:00.780 --> 00:26:08.780
One of the books I suggested was John Bader's The Intellectuals and the Maths, which develops this argument as well.

201
00:26:08.780 --> 00:26:22.780
And so when you get to the 20th century, you have a lot of solid language mentality having developed in the intellectual world and the world of writers.

202
00:26:22.780 --> 00:26:33.900
Here it's astounding how many people were able to earn their living writing in the 19th century in a new way that had never been possible in the world.

203
00:26:33.900 --> 00:26:43.900
The literary world expanded exponentially. I didn't even talk about the phenomenon of magazines in the 19th century.

204
00:26:43.900 --> 00:26:48.900
And in many ways, magazines were a better source of steady income.

205
00:26:49.260 --> 00:26:54.800
And many of these novelists actually made their steady income writing book reviews

206
00:26:55.060 --> 00:26:57.340
which were disproportionately rewarded.

207
00:26:57.340 --> 00:27:02.980
You could get one-tenth of the money for writing a novel,

208
00:27:03.360 --> 00:27:06.900
for writing one-hundredth the length of pages.

209
00:27:06.900 --> 00:27:10.760
I'm just making up those figures, but that's roughly what we're talking about.

210
00:27:10.760 --> 00:27:16.000
and so a lot of people were able to support themselves.

211
00:27:16.000 --> 00:27:19.920
Gorgelia was an example, tiny book reviews and other little essays.

212
00:27:19.920 --> 00:27:26.960
It was a vastly expanded market, totally made possible by paper, a better distribution system

213
00:27:26.960 --> 00:27:31.440
for magazines, the elimination of toxins on magazines, which occurred around the middle

214
00:27:31.440 --> 00:27:33.360
of the 19th century and so on.

215
00:27:33.360 --> 00:27:43.360
You know, people complain, say, about the 20th century, oh, poetry isn't supported the way it was in the 18th century.

216
00:27:43.360 --> 00:27:56.360
I mean, the number of practicing poets in the United States today undoubtedly exceeds all the poets in the history of humanity, in every corner of the earth.

217
00:27:56.360 --> 00:28:02.640
You know, my university alone has 300 poets in this department.

218
00:28:02.640 --> 00:28:11.920
You know, we remember maybe 50 poets total from the 19th century in England.

219
00:28:11.920 --> 00:28:18.920
And now, to add up just in the academic world, there are thousands of poets in America.

220
00:28:18.920 --> 00:28:24.280
What they're complaining about, again, is not something absolute, but something relative.

221
00:28:24.280 --> 00:28:34.000
They're earning living, but they're not earning as big a living as Steven Spielberg and Tom Cruise

222
00:28:34.000 --> 00:28:35.680
and all these people out in public.

223
00:28:35.680 --> 00:28:41.760
Again, our feet pound the floor, why in Christ's name we aren't all millionaires, I don't know.

224
00:28:41.760 --> 00:28:46.920
You know, that's always a problem in Catholicism.

225
00:28:47.160 --> 00:28:51.220
It's totally across the wall, but doesn't spread it around equally.

226
00:28:51.220 --> 00:28:56.220
I don't think that's wrong, but it does show why people begin to prevent it.

227
00:28:56.220 --> 00:28:59.860
Mises is very good at discussing this in the anti-capitalist mentality,

228
00:28:59.860 --> 00:29:03.220
especially when he talks about the resentment of the liberati.

229
00:29:03.220 --> 00:29:06.500
He analyzes the process there.

230
00:29:06.500 --> 00:29:12.660
What's useful in saying is the situation out of which modernism grows,

231
00:29:12.660 --> 00:29:19.860
the idea that the market is falling, not absolutely, but relatively.

232
00:29:19.860 --> 00:29:25.500
and Money is not supporting us to the extent it's supporting other people.

233
00:29:25.500 --> 00:29:31.360
And so you get art novelists, artsy novelists in the late 19th century, early 20th century,

234
00:29:31.700 --> 00:29:35.420
basically they're resentful that they're not making as much money as Dickens did.

235
00:29:35.420 --> 00:29:39.260
Now, it turns out they're not willing to do what Dickens did.

236
00:29:39.580 --> 00:29:48.100
Mises audited halfway, right novelist, it would be popular, but they resent that and so they start

237
00:29:48.100 --> 00:30:18.100
The market side has turned their disadvantage into an advantage, or their necessity into a virtue, and you start to generate this new, modernist ideology that is something distinct from the market, that evidence that it's not authentically good, and a totally illogical conclusion from that, that if something falls in the market, that proves that it is good, that it's not illogical, you know, the first premise is good,

238
00:30:48.100 --> 00:30:54.100
Finding Artistic Myths of the 20th Century Modernism, and that's the premiere of Stravinsky's

239
00:30:54.100 --> 00:31:01.100
Right of Spring in Paris. Maybe the single most famous artistic premiere of the 20th Century

240
00:31:01.100 --> 00:31:07.100
with the possible reason for being tied to the Caribbean with several of those wonderful

241
00:31:07.100 --> 00:31:13.100
records, but I suppose you know the story that the Agra Ballet Company is staging the

242
00:31:13.100 --> 00:31:23.600
in the Right of Frame for its music under the riot, and the audience booed, scammed,

243
00:31:23.600 --> 00:31:30.460
drowned out, the orchestra, and the pre-year of this great masterwork of the 20th century

244
00:31:30.460 --> 00:31:33.940
Right of Frame is ruined.

245
00:31:33.940 --> 00:31:37.620
We have paid ever since for that night.

246
00:31:37.620 --> 00:31:42.140
I'd like to pistol with that audience, if only they'd behave themselves better.

247
00:31:42.140 --> 00:31:48.140
Since then, we have not been able to boo at the premiere of any modernist work.

248
00:31:48.140 --> 00:31:50.140
We have to sit there and suffer.

249
00:31:50.140 --> 00:31:57.140
No matter what class the audience serves up, we've got to behave and not run with it,

250
00:31:57.140 --> 00:32:02.140
because we mustn't ever recreate the sadness of that night.

251
00:32:02.140 --> 00:32:06.140
Well, the person is just a story, but it's a myth.

252
00:32:06.140 --> 00:32:11.860
and let me just tell that opening night audience a bit.

253
00:32:11.860 --> 00:32:17.400
We now know Rite of Spring is a great, great piece of music, and I love it.

254
00:32:17.400 --> 00:32:22.940
And in fact, the Kampar topic talk show that is involved is in St. Paisa.

255
00:32:22.940 --> 00:32:28.460
It's a wonderful performance by Lance Holtsakowski and the Philadelphia Orchestra performing it.

256
00:32:28.460 --> 00:32:35.100
The fact is, if we do act that premiere, we might not allow some music

257
00:32:35.100 --> 00:32:36.620
for the Review, Balls and Plays.

258
00:32:37.300 --> 00:32:42.300
Now, Pierre Moncure was conducted, one of the great, one of the ten greatest conductors

259
00:32:42.580 --> 00:32:46.380
of the 2017 State of the Man Algebra, as Bayer, and he went on to record it

260
00:32:46.540 --> 00:32:50.100
with the Boston Symphony, which was a great performance, but it was very hard

261
00:32:50.100 --> 00:32:55.060
for that premier night for the orchestra, the rhythms were very complex,

262
00:32:55.060 --> 00:32:58.340
they didn't have enough rehearsal time, they weren't playing it very well,

263
00:32:58.620 --> 00:33:00.620
as you kind of might imagine, it was the first time,

264
00:33:00.620 --> 00:33:01.620
and so on.

265
00:33:01.620 --> 00:33:02.620
He's by far the most good.

266
00:33:02.620 --> 00:33:03.620
He couldn't lift that orchestra in state to give a performance of it that was good.

267
00:33:03.620 --> 00:33:04.620
But that really wasn't the problem.

268
00:33:04.620 --> 00:33:05.620
In fact, the problem was the choreography.

269
00:33:05.620 --> 00:33:06.620
Ludwinski, greatest male dancer of the 20th century.

270
00:33:06.620 --> 00:33:07.620
But he wasn't that great a choreographer.

271
00:33:07.620 --> 00:33:08.620
And this was one of the first ballets he choreographed.

272
00:33:08.620 --> 00:33:09.620
They're typical.

273
00:33:09.620 --> 00:33:10.620
He's a great dancer.

274
00:33:10.620 --> 00:33:11.620
But now, he's got to be a choreographer.

275
00:33:11.620 --> 00:33:41.620
The problem, in fact, the problem was the choreographies, the dynasties, greatest male dancer of the 20th century, but he wasn't that great a choreographer, and this was one of the first ballets he choreographed, Dan Tipical, he was a great dancer, but now he's got to be a choreographer, Diogo Leblon, it's virtually the first thing he choreographed, maybe the first native thing he choreographed,

276
00:34:11.620 --> 00:34:18.620
Remember Dick Fox, American Bandstand, where there were rating records, you know, 98? Why, Dick would ask? It's easy to dance to.

277
00:34:18.620 --> 00:34:23.620
Well, a fuck-ridden printout would not have gotten a 98 on American Bandstand.

278
00:34:23.620 --> 00:34:29.620
Did you see, you know, an orchestra cannot play it, but it's still not easy to dance to.

279
00:34:29.620 --> 00:34:39.620
And I don't know if it's out on DVD, I luckily take it, but if you ever see this recreation of what the ballet looked like, it's pretty laughable.

280
00:34:39.620 --> 00:34:46.620
Oh, and then there's potassium. I went to this exhibit at the Museum of Natural History in New York,

281
00:34:46.620 --> 00:34:53.620
because it was the history of Guadalajara, and they, the great master of the Ballet Rouge, the great Uncle Stadio,

282
00:34:53.620 --> 00:35:02.620
and they had all this stuff for the calcium, and I talked to a writer, Spring, and I said,

283
00:35:02.620 --> 00:35:07.620
Well, this can't seem like a fancy success, right? It looked like a Daniel Boone movie.

284
00:35:07.620 --> 00:35:12.620
It looked like, you know, silly American Indian costumes.

285
00:35:12.620 --> 00:35:17.620
And I said, wow, this is just ridiculous, y'all. Someone silly, I'd be like, look at that.

286
00:35:17.620 --> 00:35:21.620
And then I found photographs. And they reproduced them perfectly.

287
00:35:21.620 --> 00:35:25.620
I mean, it looked like bad costume made out of an American record.

288
00:35:25.620 --> 00:35:31.620
So, I would have laughed. I laughed at the costumes the first time I saw it.

289
00:35:31.620 --> 00:36:01.620
for it. I hate to say it. Actually, I think in the, there's a 1980s movie about Nijinsky's life with Alan Bates as Nijinsky and George Filipano as Alan Bates' novelist and George Filipano as Nijinsky. I think they have a brief recreation of that. And, you know, it really was bad, even though we can now say Writers' Thing is a great thing to do, but probably that was a fan production.

290
00:36:01.620 --> 00:36:23.620
People who were put right to laugh at it, and who did it? Yeah, I get it, it shouldn't be bad or rough to compose things like that, or choreographers, but still, the idea that this was some great performance of right and free, and only the first things to pitily always made them reject it is a complete myth.

291
00:36:23.620 --> 00:36:45.620
Moreover, it now turns out that there are enemies of Diaghilev, I think, who pulled people in the crowd to boo, although I know Diaghilev paid people in the crowd to boo to create a scandal and promote the work, but, you know, there are many such stories, this I think is the most famous one, which is supposed to teach us never reject a work of art.

292
00:36:45.620 --> 00:37:15.620
This is part of moving to free the artist from any audience pressure. That's why this myth is told and retold. And while we're told, nobody appreciated Vincent van Gogh during his life. We've actually bought the line that nobody appreciates Picasso and that Picasso had to struggle and struggle to get a breakthrough. He was a very wealthy man early in his career. He was a very wealthy man early in his career. He was a very wealthy man early in his career. He was a very wealthy man early in his career.

293
00:37:15.620 --> 00:37:21.620
We're very carefully with the viewers, that's the general book I told you about, proves that.

294
00:37:21.620 --> 00:37:30.620
And I think we are, we kept it really ingrained in us so that we're afraid to devise any modernist work

295
00:37:30.620 --> 00:37:35.620
because we've been convinced that modernist artists have to struggle.

296
00:37:35.620 --> 00:37:42.620
You know, if CSI were to raise my hand, they'd go, you know, six months into that phone call,

297
00:37:42.620 --> 00:37:49.620
Modernism was very well organized, lots of great self-promotion, self-publicity and part of it was convincing us that we're too dumb and we don't know what's going to happen in the future.

298
00:38:42.620 --> 00:38:50.620
to a virtual half-century far in modern music and modern pages.

299
00:38:50.620 --> 00:39:00.620
Now, drawing upon Lenin and Bologna, I want to look into some more detail on this modernist reaction.

300
00:39:00.620 --> 00:39:10.620
One of the forms we've talked, and this is again important for us as we think about things in economic terms,

301
00:39:10.620 --> 00:39:20.620
Both Lainey and Lainey showed that for all the scorns for marketing and commerce in modernism,

302
00:39:20.620 --> 00:39:27.620
in fact, it developed a very recognizable marketing strategy, which we call myth marketing.

303
00:39:27.620 --> 00:39:39.620
That is, in reaction to the mass market, these modernists, together with various cultural middlemen, art dealers,

304
00:40:09.620 --> 00:40:20.620
in a private edition, a limited round of 1,000 copies, they knew that the listings was not going to be bestseller.

305
00:40:20.620 --> 00:40:30.620
How did they figure that out? And so they pursued the opposite strategy, which was to price it higher,

306
00:40:30.620 --> 00:40:43.820
And they actually targeted the book collecting market, not the book buying market.

307
00:40:43.820 --> 00:40:57.260
And later you've got a careful study that's shown that, again, the myth of Ulysses as this very high-ranking group of brilliant intellectual artists subscribed to the initial publication.

308
00:40:57.260 --> 00:41:27.260
and they could show that people like Andre Gein, I believe that he didn't lose his threshold for among the original subscribers, but Lady went down the list, down the first few days, and then into one rare book dealer after another, buying this thing, and he said, you know, even at a very expensive price, Lady calculates it cost as much as a month's rent in a pirate's apartment, that's how they tend to give us an equivalent for it.

309
00:41:27.260 --> 00:41:32.700
for Buyers and Book Dealers and they knew that this thing was going to go up in price as a collectible.

310
00:41:33.060 --> 00:41:39.140
And the book that he released was marketed as a limited edition collectible and part

311
00:41:39.140 --> 00:41:47.620
of Joseph's remediation was that he got a certain number of copies which were worth more

312
00:41:47.620 --> 00:41:51.660
than royalties he could get at the time or any kind of a band and indeed the book,

313
00:41:51.660 --> 00:41:55.940
well I don't know what a book he released sells for now but I think that's on eBay,

314
00:41:55.940 --> 00:41:56.940
and so forth.

315
00:41:56.940 --> 00:42:03.940
And he goes all the way back to William Blake in the 1800s.

316
00:42:03.940 --> 00:42:10.940
He despised the commercial market, and then he was a small business man, and he published

317
00:42:10.940 --> 00:42:17.940
a book himself on his own little printing press, and he chose to price them higher.

318
00:42:17.940 --> 00:42:24.940
And you know, that sounds crazy, but you know, goes through the ads you get in the mail for

319
00:42:24.940 --> 00:42:40.420
I mean, this is a community of capital astrology, that you take a book that anybody can buy

320
00:42:40.420 --> 00:42:46.820
for five bucks and put it in a letter by binding and have it introduction by somebody and study

321
00:42:46.820 --> 00:42:51.020
it as only five hundred thousand people and you can charge a hundred bucks for it.

322
00:42:51.020 --> 00:42:57.780
That's a strategy that the boys have figured out didn't work too well for the state, I have to say.

323
00:42:57.780 --> 00:43:06.180
But he made a living, and it's exactly the strategy pursued in George Ludwig's, and it's way more than that.

324
00:43:06.180 --> 00:43:10.500
I mean, they thought that, still, they were safely trying to transfer to the book market,

325
00:43:10.500 --> 00:43:12.940
while it was already there in the art market.

326
00:43:12.940 --> 00:43:17.980
Modernist artists, painters were doing quite well already by the 1920s,

327
00:43:17.980 --> 00:43:20.860
because they were selling unique collectible albums.

328
00:43:20.860 --> 00:43:26.500
and you could see already often the prices were going up and this was not lost

329
00:43:26.500 --> 00:43:29.680
on other modernist artists, in this case, the writers.

330
00:43:30.360 --> 00:43:35.540
So there it is, modernism in terms of its economic underpinnings

331
00:43:35.900 --> 00:43:38.400
to a large extent took the form of niche marketing.

332
00:43:38.400 --> 00:43:41.800
And that's what I was saying earlier today,

333
00:43:42.120 --> 00:43:50.180
capitalism supports a whole range of cultural people including everything

334
00:44:20.180 --> 00:44:30.820
and so on. Modernist market returned to patients. There was a kind of nostalgia for patients.

335
00:44:30.820 --> 00:44:37.460
Patients, again, when people had patients, they realized what a problem they were. And

336
00:44:37.460 --> 00:44:43.140
you get these statements like Dickens saying, thank God we don't have to rely on patients

337
00:44:43.140 --> 00:44:48.340
anymore. The market has liberated us from patients. But the people who felt frustrated

338
00:44:48.340 --> 00:44:54.020
by the Market, they didn't see what was wrong with patrons, they just saw what was wrong

339
00:44:54.020 --> 00:44:58.820
with the market, and so they wanted to get back to patronage.

340
00:44:58.820 --> 00:45:10.420
And typically there was so much wealth flowing around in the 20th century that a new class

341
00:45:10.420 --> 00:45:20.900
Participations developed, sons and daughters of wealthy families, some people who in business

342
00:45:20.900 --> 00:45:27.300
manner made a lot of money themselves and wanted to spend it on art and get the procedure.

343
00:45:27.300 --> 00:45:43.300
He was a very, very strange person. He was a member of the Lloyds Bank House Support CSIS at a key point in his career.

344
00:45:43.300 --> 00:46:11.300
And so, you know, I think we have this image of these starving, struggling artists, and, you know, they're all living in nice apartments, traveling to Italy for vacations, throwing parties, I mean, it really, it's very much one of the catiest things of modernism, the way it's promoted, to make us all feel bad that we owe them more money than we want, why aren't they?

345
00:46:11.300 --> 00:46:12.300
I'll leave you there.

346
00:46:12.300 --> 00:46:18.300
Now, again, it's quite amazing the number of patrons who came forward in the 20th century.

347
00:46:18.300 --> 00:46:22.300
Peggy Guggenheim is obviously one of the most famous in the field.

348
00:46:22.300 --> 00:46:27.300
A number of the rock controllers supported art in various forms.

349
00:46:27.300 --> 00:46:32.300
So, in a certain way, you can say the market stepped up

350
00:46:32.300 --> 00:46:38.300
and restored patronage in the kind of upper middle class form.

351
00:46:38.300 --> 00:46:45.240
Now, there is a bad side to return to patronage that is worth the suffering to sort of bring

352
00:46:45.240 --> 00:46:54.380
out what I'm talking about in modernism, and Edward Hound is the focus of this.

353
00:46:54.860 --> 00:47:00.540
For Edward Hound, it turned off the return to patronage, the real return to patronage,

354
00:47:00.860 --> 00:47:06.820
namely a return to Renaissance tolerance, and if you couldn't get a Renaissance tolerance,

355
00:47:06.820 --> 00:47:12.220
In fact, this pirate would do almost as well, and his name was Mousseline.

356
00:47:12.220 --> 00:47:20.500
As you may know, Brown ended up in St. Elizabeth's Hospital in Washington,

357
00:47:20.500 --> 00:47:23.300
in the Washington, D.C. area after World War II.

358
00:47:23.300 --> 00:47:27.860
Because during World War II, he was the Tokyo Rose of the Western Front.

359
00:47:27.860 --> 00:47:34.100
He had named a broadcast on behalf of Mousseline and fascism.

360
00:47:34.100 --> 00:47:45.540
and the US I didn't know what to do with them after the war, maybe at the time the most famous

361
00:47:45.540 --> 00:47:54.440
living American poet and he's been broadcasting for fascism during the war and appealing to

362
00:47:54.440 --> 00:48:01.640
for American Groups that lay down their arms in support of Lutheranism and that sort of thing.

363
00:48:01.640 --> 00:48:08.440
You know, by all standards, quite honestly, he should have been executed for being afraid of him.

364
00:48:08.440 --> 00:48:13.040
And if he hadn't been ever found, he undoubtedly would have been.

365
00:48:13.040 --> 00:48:17.840
And the solution they came up with was to say he was crazy.

366
00:48:17.840 --> 00:48:21.040
They didn't do this to Copiel Rose, for example,

367
00:48:51.040 --> 00:49:00.040
And, you know, we continue to write poetry from St. Elizabeth, and many of the last samples were written there and published from there.

368
00:49:00.040 --> 00:49:11.040
In a way, it's a very sad story, but people, you know, are reluctant to face the consequences of it.

369
00:49:11.040 --> 00:49:41.040
He was this man that fought the world over mostly and thought that there should be patience for all of us, that a man like him does not have to depend upon the market to support him, that people should, you know, that there should be patience for him, he could be relieved of the pressure of the market and support it, so they could write these incomprehensible pantos, which could

370
00:50:41.040 --> 00:51:00.320
And you can see the town celebrating this very typically nasty, let us say, death-discantles

371
00:51:00.320 --> 00:51:07.200
and starting to make the connection with Lucolini and starting to wonder whether Lucolini is

372
00:51:07.200 --> 00:51:30.200
This is the answer, whether he can do for the 20th century what Malacheska did for the 16th century, and could Mussolini be the new patron of art that among other things could relieve Pound of any market pressures and give him the kind of result he needed to be the great art he wanted to be.

373
00:51:30.200 --> 00:51:40.200
This is from a letter, a pound star, to write to a woman he knew who was an American woman, but who was connected with the Lutheran circuit.

374
00:51:40.200 --> 00:51:50.200
I mean, if you go down to Rome, Georgia, off to Rome, Georgia from here, yeah, not too far, I mean, they're in the town of Rome,

375
00:51:50.200 --> 00:52:04.200
And there is a, it's the famous wolf statue of Ronald Reagan from the Seawolf, the founding of Rome with a gift of Mussolini to the sister city, the sister city of Georgia.

376
00:52:04.200 --> 00:52:12.200
It was partially removed for many years after World War II, but it's back now. It's all coming back.

377
00:52:12.200 --> 00:52:18.200
I mean, there's a lot of interesting relations between Mussolini and Americans before the war.

378
00:52:18.200 --> 00:52:35.200
This is a letter that is very important, asking her to help him approach Mussolini and wrote a great art project, this is the source for government support of the arts.

379
00:52:35.200 --> 00:52:47.200
To pull off what I said the other day, it would be quite easy to make Uberly the intellectual center of Europe, and that's by gathering 10 or 15 of the best writers and artists.

380
00:52:47.200 --> 00:52:54.200
The firmament will not be expensive. The whole thing depends on the selections and the manner of the invitations.

381
00:52:54.200 --> 00:52:58.200
Next sentence. I shouldn't trust anyone's selection to save my own.

382
00:52:58.200 --> 00:53:06.200
That's a mistake. You know, give me the cause and I can put together the 15 greatest minds in Europe and Italy and we'll have the renaissance again.

383
00:53:06.200 --> 00:53:13.200
There's no use going into details until one knows if there is or could be an exclusive intent in the idea.

384
00:53:13.200 --> 00:53:21.200
And that is to say, if the dictator wants a literary court, a court of letters, he could be court-aided in the letter aureole, he could use this down there.

385
00:53:23.200 --> 00:53:32.200
If he is interested in the procedure of sigismundo malatesta, in getting the best artist of the time to remedy a small thing with no great resources.

386
00:53:32.200 --> 00:53:40.200
I know in a general way that Pacquiao includes literature on the art of this program that is very different from being ready to take specific action.

387
00:53:40.200 --> 00:53:47.200
Who's going to be willing to back up his words and produce a cultural revival in Europe? If so, I'll leave it.

388
00:53:47.200 --> 00:53:53.200
You have to avoid the superficial prejudices that dead wooded academies toward pedagogical figures.

389
00:53:53.200 --> 00:54:01.200
The life of the artist is always concentrated in a very fluid individual's day and night and the rest follow or adapt or exploit.

390
00:54:01.200 --> 00:54:07.200
So it doesn't want any bureaucratic procedure in it. It's neither do they. We get together, we'll solve the problem.

391
00:54:07.200 --> 00:54:12.200
and so on. It makes things run on time. It can make the arts run on time, too. And that's

392
00:54:12.200 --> 00:54:17.920
what he was admired for. The Duterte doesn't mess around with little things like rule of

393
00:54:17.920 --> 00:54:22.120
law and that, get things done. Let's even do it in the arts now. I'm not making this

394
00:54:22.120 --> 00:54:31.120
up. This is great now, the last paragraph. He only has an opportunity now. This is 1924

395
00:54:31.120 --> 00:54:37.120
on Friday. An opportunity that John had 30 years ago or even 10 years ago. Never anything

396
00:54:37.120 --> 00:54:40.300
Infected, who would have been stupid?

397
00:54:40.300 --> 00:54:43.600
France is too tired to offer serious opposition,

398
00:54:43.600 --> 00:54:47.080
America is too far from civilization,

399
00:54:47.080 --> 00:54:49.120
and won't for a hundred years,

400
00:54:49.120 --> 00:54:52.120
distinguish between the first race and the second race.

401
00:54:52.120 --> 00:54:54.240
She will always stay content with copies.

402
00:54:57.680 --> 00:55:00.240
And then, a year later,

403
00:55:00.240 --> 00:55:02.960
he asked her to arrange a personal meeting

404
00:55:02.960 --> 00:55:04.320
between him and these ladies.

405
00:55:04.320 --> 00:55:12.320
In 1924, and half of this is in Italian, but I'll translate it because that came so fast.

406
00:55:12.320 --> 00:55:20.320
It's a topic to be opened by your asking me so many one simple question, or even getting

407
00:55:20.320 --> 00:55:25.320
Ruth Mondo to ask you, so long as you get a direct, definitive answer.

408
00:55:25.320 --> 00:55:33.320
And the question is, does he want Italy to be truly the center, not a center of European

409
00:55:33.320 --> 00:55:40.520
in Life, The Intellectual and Cultural Center of Europe, as it was in the 16th and 16th centuries.

410
00:55:40.520 --> 00:55:44.760
If he, if so, he could have my support.

411
00:55:44.760 --> 00:55:53.640
For a week or a year, we've been waiting to get the support of Ezra Fowl, though he did

412
00:55:53.640 --> 00:56:01.400
be, I mean, the sheer pretentiousness of that, it was about nearly in proportion, but it is,

413
00:56:01.400 --> 00:56:31.360
You know, I want, and this is not an isolated or off-base example, don't tell me Pound was praised in 1944, I mean this was the central figure in Anglo-American modernism, the patron of drugs, the patron of oil, very much closely connected with him, Winsor and Lewis, this was a man who was absolutely the center of what we think of Anglo-American modernism.

414
00:56:31.400 --> 00:56:40.400
and that's what's going on in the 19th century, if I could just get an Italian dictator as my patron, we can really bring Europe to life.

415
00:56:40.400 --> 00:56:50.400
And again, a proud Ludwig free example, but not all that is free and it's a story that is increasingly being told

416
00:56:50.400 --> 00:56:57.400
but the connections between modernism and the European right are quite deep and extraordinary.

417
00:56:57.400 --> 00:57:15.400
The myth is that by and large modernism was left-wing, but you look at Yeats, he was writing some very ugly pro-fascist things in the 1930s, so much so that a book on the boiler has never been printed to this day.

418
00:57:15.400 --> 00:57:21.400
Obviously in Germany there are lots of figures, the most famous of whom will be Martin Heidegger,

419
00:57:21.400 --> 00:57:25.800
In some ways, it was two or three years of an option party.

420
00:57:26.200 --> 00:57:30.160
We'll talk a bit about that tomorrow.

421
00:57:30.420 --> 00:57:39.800
But certainly, there were sympathies with the Italian future painters with fascism in France,

422
00:57:39.800 --> 00:57:44.960
the old force of figures that were sympathetic to fascism in the 1930s.

423
00:57:44.960 --> 00:57:48.400
There was that famous scandal a couple years ago

424
00:57:48.400 --> 00:58:18.040
The Belgian-American deep-destructive critic of Yale, Paul De Man, discovered to have written pro-fascist journalism during the early years of World War II, back in Belgium, so it seems in a way so strange to us, but modernism bore into the left and the right, it is both the left and the right, we're socialist, anti-market, anti-commercial and anti-fascist.

425
00:58:18.400 --> 00:58:28.720
and it was very tempting for artists to make a deal with either the European left or the European right since they thought it was a little further to the commercial world.

426
00:58:28.720 --> 00:58:39.040
And above all, we see this idea, and we'll see it again in talking about COVID, talking about the Soviet Union and Nazi Germany tomorrow,

427
00:58:39.040 --> 00:58:45.760
that the attraction of the political scene is they seem to care about artists.

428
00:58:45.760 --> 00:59:14.760
They seem to give the artists a central role in the culture, and Hitler, Stalin, Mussolini was part of their political program to look very carefully at the arts and to encourage the arts, and if you could get on the good side of one of these dictators, it actually was very profitable to your career and all the architecture they sponsored.

429
00:59:14.760 --> 00:59:18.760
and the various forms of music, painting and literature they sponsored.

430
00:59:18.760 --> 00:59:24.040
And you can see here, the town wants to get back before capitalism.

431
00:59:24.040 --> 00:59:30.280
And of course, the campus was full of crazy American populace attacks on capitalism.

432
00:59:30.280 --> 00:59:35.080
Although it's right about some of the economic issues, it seems like the gold standard.

433
00:59:35.080 --> 00:59:43.240
But here you can see an extreme form, but therefore a clear form,

434
00:59:43.240 --> 00:59:50.240
of this terrible temptation of the modernists that the market had depraved them, that the

435
00:59:50.240 --> 00:59:56.240
market didn't specifically value them, that it made other writers millionaires and not

436
00:59:56.240 --> 01:00:01.240
them. And so therefore there must be something wrong with the market and the enemies of the

437
01:00:01.240 --> 01:00:06.240
market must then be our friends. And in some cases it turned out to be fascist dictators

438
01:00:06.240 --> 01:00:31.240
and other cases, Soviet counties dictated, but the political and economic extremism of modernism has its roots in this profound aging generated by the market system, and again, it's not that these guys weren't doing actually pretty well financially, these guys were not

439
01:00:31.240 --> 01:00:46.240
but they weren't making any revenue as much as other people and that proved to them the fundamental justice of the capital system and the market as a basis for culture.

440
01:00:46.240 --> 01:01:00.240
And so again the idea is, it turns right across the board the notion that the truth of your power as an artist is precisely the unmarketability of your art.

441
01:01:00.240 --> 01:01:13.240
that if you're unsuccessful, your stuff can't be good, and you can offer the fact that you're unsuccessful as proof of your season.

442
01:01:13.240 --> 01:01:21.240
And increasingly, you therefore get the cost of difficulty and impossibility of communication in art.

443
01:01:21.240 --> 01:01:29.240
Art, and right across the board, in painting, in music, and in literature, you get artists

444
01:01:29.240 --> 01:01:35.240
deliberately insulating themselves from the market. Let's say, you know, writing is basically

445
01:01:35.240 --> 01:01:44.240
incomprehensible books, so they, they can't be blamed, you know, if their books fail in

446
01:01:44.240 --> 01:01:50.240
the market, they say, oh, the audience just doesn't understand me, I'm too profound to

447
01:01:50.240 --> 01:01:55.440
to be understood and, you know, writing music that no one wants to listen to and then say,

448
01:01:55.440 --> 01:02:00.600
oh, this tune's how great I am because the audience doesn't understand me.

449
01:02:00.600 --> 01:02:04.840
Now, again, I admire Joyce.

450
01:02:04.840 --> 01:02:07.000
I've never been a real fan of town's poetry.

451
01:02:07.000 --> 01:02:12.000
I obviously think highly of Eliot and Yeats and Pete Penn.

452
01:02:12.000 --> 01:02:18.640
And so in many ways, I generally admire this generation of artists.

453
01:02:18.640 --> 01:02:30.640
The problem is, once you establish the principle that all is only good if it's difficult, all is only good if it's rejected by the market, you essentially have no standards left whatsoever.

454
01:02:30.640 --> 01:02:39.640
Anybody can write incomprehensible music, anybody can write two incomprehensible papers, anyone can write an incomprehensible post.

455
01:02:39.640 --> 01:02:45.640
It's very difficult to tell good incomprehensible prose from bad incomprehensible prose.

456
01:02:45.640 --> 01:03:13.640
I see them all the time in my grade in the paper, but that's how the first generation of modernism opened the floodgates and that's where it starts to go bad and especially as modernist art tends to define itself in negative terms

457
01:03:13.640 --> 01:03:23.640
and insists on finding itself on what it does not do in opposition to traditional art or commercial art.

458
01:03:23.640 --> 01:03:31.640
I have a really hard time with abstract expressionism as a form of paper,

459
01:03:31.640 --> 01:03:39.640
and I will ask people why I should like this thing by Jackson Pollock or Willem de Kooning

460
01:03:39.640 --> 01:03:48.640
or Rothmore, Rothwell, and they'll say, what's so good about this? It doesn't represent anything.

461
01:03:48.640 --> 01:04:02.640
And I'll say, yes. And they say, it's just a page. The tangibility of this is table evidence.

462
01:04:02.640 --> 01:04:07.640
You can see that it's just a page and it's not a painting of something. And I'll say, yes.

463
01:04:07.640 --> 01:04:10.920
and then, you know, they'll show you like a blind canvas.

464
01:04:10.920 --> 01:04:13.040
It shows a little bit of work.

465
01:04:13.040 --> 01:04:14.720
Yeah, it doesn't represent anything.

466
01:04:14.720 --> 01:04:19.920
And it's the same thing when, you know, I'll ask for modernist music.

467
01:04:19.920 --> 01:04:24.480
And I, for example, I actually, when I was growing up,

468
01:04:24.480 --> 01:04:26.840
brought into a lot of this modernist ideology

469
01:04:26.840 --> 01:04:29.880
and I've utilized Sturmburg's music, for example.

470
01:04:29.880 --> 01:04:35.160
And it's very easy for people to always just say that, you know.

471
01:04:35.160 --> 01:04:45.160
I could say I like Brimberg's music and Go Home and Listen to Bob, but you know, I will just, you know, like, I'll say I prefer first and fourth and fourth passes.

472
01:04:45.160 --> 01:04:52.160
I don't feel much like the second and third. I don't like Brimberg either, but I like Faircraft and Ike. I like his violin concerto better than his piano concerto.

473
01:04:52.160 --> 01:04:57.160
I own five recordings of his opera motifs, and I really do know the guy's music.

474
01:04:57.160 --> 01:05:06.160
and by the way, I'm so bold, I can't stand listening to this, but I actually sit there and hum along with Moses and Aaron.

475
01:05:06.160 --> 01:05:10.160
It was, I'm here, he's here, I'll get him after that.

476
01:05:10.160 --> 01:05:15.160
Which is Moses talking about God, alone, eternal, all present.

477
01:05:15.160 --> 01:05:18.160
I mean, I could actually hum the tune for Moses and Aaron.

478
01:05:18.160 --> 01:05:21.160
So I'm not speaking of Higgins when I talk to the father.

479
01:05:21.160 --> 01:05:22.160
and so on.

480
01:05:22.160 --> 01:05:31.160
But beyond Sternberg, I have real problems when we get to even someone like the student

481
01:05:31.160 --> 01:05:37.160
Hans-Hermann Boehm-Bawerk, and beyond that, I cease to follow what's going on.

482
01:05:37.160 --> 01:05:42.160
You know, I ask people about bulls, and I ask about stock houses, and I ask about heads

483
01:05:42.160 --> 01:05:43.160
up.

484
01:05:43.160 --> 01:05:44.160
I need to test it, whatever.

485
01:05:44.160 --> 01:05:46.160
And then I say, well, what's so good about this?

486
01:05:46.160 --> 01:05:49.160
And they say, you can't have it in elevator.

487
01:05:49.160 --> 01:06:10.160
Yeah. Yeah. And they always tell me what it doesn't have or what it doesn't do, and I'm supposed to like it because it doesn't have harmony, and all the statistical art has, and all the commercial art of music has harmony.

488
01:06:10.160 --> 01:06:21.160
And every time I lose this, now again, maybe I'm wrong on this, and the people I respect genuinely like some of this music.

489
01:06:21.160 --> 01:06:28.160
I'll kick off on classical music. After all this, I start to like things with minimalism, some of Philip Glass.

490
01:06:28.160 --> 01:06:37.160
I really like some of the contemporary composers like Alton LaVault, Argo Paz from Estonia, and Peter Vaps from Latvia.

491
01:06:37.160 --> 01:06:42.160
As you'll see, I really love Dr. Colvin, by and large, we'll be talking about him tomorrow.

492
01:06:42.160 --> 01:06:47.160
He's in many respects a modernist, though in some ways an anti-modernist.

493
01:06:47.160 --> 01:06:55.160
But what strikes me about so much of his art is his only claim to fame is rebellion.

494
01:06:55.160 --> 01:07:04.160
And that, you know, I can understand what Sternberg is doing and can see the justification

495
01:07:04.160 --> 01:07:07.120
for the Ways You Depart from Perhapital Conallery.

496
01:07:07.120 --> 01:07:09.480
I still have, I would love to say to the guy, you know,

497
01:07:09.480 --> 01:07:15.460
Fairfax, it's so beautiful, why couldn't you have written more of that and why did you have

498
01:07:15.460 --> 01:07:20.760
to take me on to the second speech book page of the very easy school officer.

499
01:07:21.040 --> 01:07:26.000
But still, you know, I can sort of see what's going on there

500
01:07:26.240 --> 01:07:30.400
and why do you feel it can help to do what it does.

501
01:07:30.400 --> 01:07:53.760
But beyond that, it does seem to me a great deal of modernist art is just different from the sense of being different, as we all find it a failure to put the courage and unwillingness to confront the greatest of past art and genuinely try to compete with it, instead we just try to do the opposite, as if somehow doing the opposite is necessary and good.

502
01:07:53.760 --> 01:08:01.360
I want to say it was possible, because what I'm saying is that modernism developed its ideology,

503
01:08:01.360 --> 01:08:08.640
its anti-commercial ideology, and tried to steal the artist from the market.

504
01:08:08.640 --> 01:08:13.200
And there's a government support for the arts, and above all, academic support for the arts,

505
01:08:13.200 --> 01:08:16.800
which is a form of government support for the arts.

506
01:08:16.800 --> 01:08:23.360
And here's where I'll say that I think government support of the arts

507
01:08:23.360 --> 01:08:25.680
can be, in fact, negative.

508
01:08:27.680 --> 01:08:31.880
Now, we can all see in the context of this large version I created

509
01:08:31.960 --> 01:08:36.840
whether artists are better often shielded from commercial pressures

510
01:08:36.920 --> 01:08:41.560
or subjected to commercial pressures.

511
01:08:41.640 --> 01:08:44.760
The idea behind government support for the arts

512
01:08:44.840 --> 01:08:49.280
is specifically that artists need to be shielded from commercial pressures.

513
01:08:49.360 --> 01:08:51.160
That's the logic behind it.

514
01:08:51.160 --> 01:08:57.760
It's specific, you know, it's like no commercial artist need apply for these grants.

515
01:08:57.760 --> 01:09:04.360
And, you know, the argument in favor of this is it can't hurt.

516
01:09:04.360 --> 01:09:11.360
You get arguments about the economics of it, but you basically feel, I'd say, it's useful for good.

517
01:09:11.360 --> 01:09:17.160
And for any government supported us, you can point us to questions.

518
01:09:17.160 --> 01:09:22.060
You can say this work was funded by the NEA and look how good it is.

519
01:09:22.060 --> 01:09:33.080
And the worst you could say is okay, a lot of bad art was produced from this agency,

520
01:09:33.080 --> 01:09:35.340
but at least something good is happening.

521
01:09:35.340 --> 01:09:41.660
And even that's just the way you describe the market, that a lot of bad culture is generated,

522
01:09:41.660 --> 01:09:45.500
but there's some good examples, and so let's just leave it at that.

523
01:09:45.500 --> 01:09:48.740
and why would government support be any worse?

524
01:09:48.740 --> 01:09:53.900
Well, my argument is that government support for the arts

525
01:09:53.900 --> 01:09:57.500
sends a signal to artists.

526
01:09:57.500 --> 01:10:00.580
It sends a signal that commercial art is bad.

527
01:10:00.580 --> 01:10:04.140
And it, above all, sends a signal that pleasing an audience

528
01:10:04.140 --> 01:10:06.580
is bad.

529
01:10:06.580 --> 01:10:08.740
It always sounds crazy, but think about it,

530
01:10:08.740 --> 01:10:13.580
how ingrained that is in our ideology about aesthetics now,

531
01:10:13.580 --> 01:10:41.580
I think it's a bad thing to come to the conclusion that pleasing an audience is a bad thing. I think what's wrong with so much particularly contemporary painting and contemporary media is that it actively speaks to the deep-pleased audience and to avoid having a pleasing audience and the way to do that is to get a post in a university.

532
01:10:41.580 --> 01:11:11.580
Now, I know some people who are good composers working in universities, I particularly know some people who are good painters working in university environments and so on, I'm certainly not going to play and suggest that it's a uniform, fast situation, but I do think the cumulative effect of foundation support for the arts

533
01:11:11.580 --> 01:11:36.580
and the whole apparatus, the academic support for the arts has created a sterility in much modern and contemporary art, and the fielding of these artists has really cut them off from any feedback, just go to any really show of art at a university, you know, there are all kinds of things going on in the world, and it's been a wonderful experience.

534
01:11:36.580 --> 01:11:43.580
There are so many great shows of art at the universities, you know, there are all these polite companies,

535
01:11:43.580 --> 01:11:48.580
much like the salieri in the movie about Mozart's work.

536
01:11:48.580 --> 01:11:54.580
You know, these polite, non-committal artists, there's something to be said for the market

537
01:11:54.580 --> 01:12:00.580
as a genuinely disciplining and energizing force, and being forced to prove real people

538
01:12:00.580 --> 01:12:03.580
have to put up their own money to support what they're doing,

539
01:12:33.580 --> 01:12:39.580
It's amazing that Arnold Thurnberg couldn't get a grant to finish Moses and Adam.

540
01:12:39.580 --> 01:12:43.580
He wrote two acts of it. He was a tremendous financial partner.

541
01:12:43.580 --> 01:12:47.580
When he moved to the United States, he had a speech in order to make a living.

542
01:12:47.580 --> 01:12:51.580
He applied to the Guggenheim Foundation and several other foundations.

543
01:12:51.580 --> 01:12:55.580
And they put down Arnold Thurnberg.

544
01:12:55.580 --> 01:13:01.580
And, you know, I would love to know who grouped out the grant those years instead of Thurnberg.

545
01:14:01.580 --> 01:14:31.580
and Brighton, to death, you know, Sid Keefe, Spetsun, Rupert Brooke, and all these great British who lost a whole generation of artists in World War I and they supposedly, and I've read about this, I wish I had saved the article, they created a committee to draw up a list of all the great young artists in Britain who would not be sent into World War II as to publish the list and even recognize a single one of the names. In other words, when the government had been charged

546
01:15:01.580 --> 01:15:13.580
of this whole apparatus of non-market funding for the arts has actually fed into this whole ideology that art is good only if it's difficult.

547
01:15:13.580 --> 01:15:20.580
As you can see, I teach times of the market forcing changes in art.

548
01:15:20.580 --> 01:15:29.580
If you go to commercial art galleries around the country, places like Santa Fe, which has a lot of good art galleries,

549
01:15:29.580 --> 01:15:42.580
You're increasingly seeing representational painting as what's selling, and it looks a lot better to me than the aspect of expressive painting you used to see in every gallery around the country.

550
01:15:42.580 --> 01:15:57.580
And in music, again, supposedly the market has failed in supporting classical music, but this wonderful label, ECM, promoted the music of our old pair.

551
01:15:57.580 --> 01:16:02.040
And if you've not heard this, it's like post-modern medieval music.

552
01:16:02.040 --> 01:16:22.060
Uh, uh, uh, uh, uh, uh, uh, uh, a piece called Prophecy and Arbots, uh, uh, Steady, uh, a wonderful St John's Passion, uh, really remarkable music, uh, guys from Lithuania, uh, who would have heard of it except a record label discovered him and it's promoted him.

553
01:16:22.060 --> 01:16:52.060
and I think it's, you know, the most beautiful music, choral music, Hiddleston just came to play and so I see market forcing overcoming this fluidity, the second phase of modernism, all because, again, artists, they balked at the competition, they balked at the market competition with their fellow artists, they balked at any kind of competition

554
01:18:22.060 --> 01:18:38.060
I think there are undoubtedly cases where some elite art has been produced, and I actually have, particularly in these states, you know, I love the late writings of Sanders Beckett.

555
01:18:38.060 --> 01:18:44.060
It doesn't get any more pure, difficult, and unmarketed aria as it does that.

556
01:18:44.060 --> 01:18:54.060
I will confess to having a warm spot in my heart for such a delightful book as it works with Boehm, and it will stand by Becky.

557
01:18:54.060 --> 01:19:10.060
And I'm glad that Peggy Guggenheim supported him at certain points in his life, and freed him from market pressure, freed him from having to be a preacher, which is a great nightmare for his life, with people in front of a classroom, and so on.

558
01:19:10.060 --> 01:19:22.060
And, you know, what's great about the capitalist world, it's produced so much wealth that it can support people on the margin and support people in need.

559
01:19:22.060 --> 01:19:32.060
But by and large, this ideology that something is necessarily good makes it difficult, or necessarily good makes it expensive,

560
01:19:32.060 --> 01:19:38.740
I think that's been a very dangerous tendency in 20th century art and very much in cloud

561
01:19:38.740 --> 01:19:49.740
coverage by systems of support for the arts that exclusively rule out faith, as I said

562
01:19:49.740 --> 01:20:01.380
in my first lecture, that is, you can see obviously why these artists played it, I think we all

563
01:20:01.380 --> 01:20:06.380
Why am I not a millionaire?

564
01:20:06.380 --> 01:20:16.380
That's why we have all these games now, marry a millionaire, all these shows that try to offer for the average American a chance to be a millionaire.

565
01:20:16.380 --> 01:20:26.380
But that's just not the second thing for most of us, and allowing the market to distribute wealth is probably our safest and best way of doing it, even in culture.

566
01:20:26.380 --> 01:20:33.260
and so on, because it does leave room for all these special papers,

567
01:20:33.260 --> 01:20:37.240
and as I said, niche marketing and special papers and so on.

568
01:20:37.480 --> 01:20:45.100
At the same time, though, I think by and large, I think works of art have more vitality

569
01:20:45.100 --> 01:20:49.340
if the artist is in a dialogue with an audience.

570
01:20:49.340 --> 01:21:04.340
And so, in fact, you know, there's signs to me that the history of 20th century art, painting, music, was very different 100 years from now.

571
01:21:04.340 --> 01:21:14.340
And many of the writers that we now think of as central were being forgotten, and many writers who were thought of as peripheral were being thought of as important.

572
01:21:14.340 --> 01:21:21.340
The 20th Century ended, they had all these polls. Who's the greatest writer of the 20th Century?

573
01:21:21.340 --> 01:21:29.340
We all know who won. When people anywhere were polled, who was the greatest writer of the 20th Century?

574
01:21:29.340 --> 01:21:34.340
Who was the greatest book of the 20th Century? It was Lord of the Rings, One Hand Bound.

575
01:21:34.340 --> 01:22:01.340
I mean, that's a modernist nightmare, to hear that, that this pseudo-medieval epic was sold for hundreds of millions of copies, that that should be what was held up, and, you know, the great work in the 20th century, and you can just see modernists say, oh, we told you so, you see this commercial work,

576
01:22:31.340 --> 01:22:38.340
It is somewhat hokey, and the plot is a little flaky at times, but you know, it's about as if it were brilliant.

577
01:22:38.340 --> 01:22:48.340
It's worked on a vast scale. It is deeply plugged into mythology. I personally think it's a great work, and I'd love to reread it.

578
01:22:48.340 --> 01:22:53.340
It's more effective, say, for some of the modest novels I've had to read.

579
01:22:53.340 --> 01:22:58.340
And again, I think, as I was saying about the Da Vinci Code earlier, this is a more extreme case.

580
01:22:58.340 --> 01:23:07.340
I think it's a real tribute to popular leadership that that's the book that more than any other of the market has a place.

581
01:23:07.340 --> 01:23:13.340
It's not in the surface of it. It doesn't look like something that would be popular.

582
01:23:13.340 --> 01:23:19.340
That's certainly what any publisher that's heard it down said, and it's hilarious to read the various

583
01:23:19.340 --> 01:23:49.340
and a lot of philosophical publications over it, people that just, I mean, the past history of it, just pulled out of itself, and yet it has, and now it's been made into movies, and it's emerged as the great mythic story of the 20th century, I really loved it, and I think it's a great work, not in certain ways, but still, very often, I have to say, I like decades-old prose that I like, Tolkien will have absolutely the opposite set of virtues, but that doesn't mean that Tolkien doesn't have good virtues.

584
01:23:49.340 --> 01:24:19.340
and finally, I would regard that as a great market success of the 20th century, one that in fact would have been already unpredictable and who would, I mean, people rushed to indicate it or vote on it, of course nothing has had any comparable effect, but there's something about it, it's written into its own way very well written, it is written by someone who deeply knows the mythology he's basing it on and is able to work it up and, you know, it's quite remarkable and while it's finally being thought of at university,

585
01:24:19.340 --> 01:24:20.340
and Human Action.

586
01:24:20.340 --> 01:24:21.340
But it's like academics were virtually the ones to discover this work.

587
01:24:21.340 --> 01:24:22.340
It's like the whole look of the world, how to understand how brilliant it was.

588
01:24:22.340 --> 01:24:23.340
Ironically, it's written by an academic, and it's a deeply academic work.

589
01:24:23.340 --> 01:24:24.340
And it's all really, really soft with a lot of interesting aspects of modernism.

590
01:24:24.340 --> 01:24:25.340
And it is a book that reflects the tragedies of the 20th century and the First World War,

591
01:24:25.340 --> 01:24:26.340
the Second World War.

592
01:24:26.340 --> 01:24:27.340
And there are lots of interesting ways that it can be discussed with it in that sense.

593
01:24:27.340 --> 01:24:28.340
And it's related to the whole question of the making of these things.

594
01:24:28.340 --> 01:24:29.340
And I think it's a great book.

595
01:24:29.340 --> 01:24:30.340
And I think it's a great book.

596
01:24:30.340 --> 01:24:31.340
And I think it's a great book.

597
01:25:01.340 --> 01:25:22.340
In a way, it's an emblem for everything I'm trying to say here, that here's this work that was a great, enormous work of success, totally improbable and totally against any law of modernism, except the idea that I think it is difficult in its own way.

598
01:25:22.340 --> 01:25:32.340
You know, I, the successful ordering is my example, but I actually have greater trust in markets than I do in academics.

599
01:25:32.340 --> 01:25:39.340
I think in some ways the market is a better judge of its better quality than professors are.

600
01:25:39.340 --> 01:25:45.340
And I'm not normal most. I'll move down and take questions. Yes?

601
01:25:45.340 --> 01:25:52.340
I was looking at the problem to see if we had an equation in Man-Economy for religion.

602
01:25:52.340 --> 01:25:55.340
Can you give me an example of auto-care in Man-Economy?

603
01:25:55.340 --> 01:26:02.340
In terms of the human community, I'm sure you know why human methods are very, very expensive

604
01:26:02.340 --> 01:26:08.340
because they're not as readily available as the methods in the world.

605
01:26:08.340 --> 01:26:30.340
Well, first of all, I wasn't criticizing the roads relating to us police, so this is fine, great, if, you know, it was a pure market transaction, I would just point out that this modernist with an anti-market ideology actually pursues a well-known market strategy, and that's fine.

606
01:26:30.340 --> 01:26:34.340
But do you think CDs cost the same as other CDs?

607
01:26:34.340 --> 01:26:38.340
Oh, you've got to go on the internet.

608
01:26:38.340 --> 01:26:42.340
Well, aren't they a dollar more expensive?

609
01:26:42.340 --> 01:26:48.340
Oh, no way. I mean, I buy them all the time.

610
01:26:48.340 --> 01:26:54.340
Oh, look, I go on the internet through Power, I get hard CDs for $14.

611
01:26:54.340 --> 01:27:14.340
Oh, if you're in Canada, you've got, yeah, that's your problem. You're in protectionist Canada. Go on the Internet. I mean, honestly, I mean, I, you know, I buy CDs all the time. At most they're a dollar more expensive, but I don't, I mean, we don't get them on sale, they're cheaper.

612
01:27:14.340 --> 01:27:37.340
Okay, well, yeah, I could have gotten this $415. I swear to you, yes. And by the way, I mean, I still owe a couple of dollars. I mean, if you had a more precise view of this, but we're talking with 40 times more expensive than another book.

613
01:28:37.340 --> 01:28:48.340
Okay, the question is, do I think the anti-commercial tax of modernism is incidental to it, or necessary?

614
01:28:48.340 --> 01:29:00.340
My answer, no, I was trying to make the radical thesis that modernism is not anti-commercial because at heart it's rebellious,

615
01:29:00.340 --> 01:29:05.340
but rather that it's rebellious because that is how it's anti-commercial.

616
01:29:05.340 --> 01:29:15.340
Now, that's undoubtedly an overstatement and, you know, too sharp a reversal, but it's worth considering, that's why I'm asking you to read the following.

617
01:29:15.340 --> 01:29:27.340
What people, especially like Lainey, have argued is that, in a weird way, the anti-commercial animus is first, and it generates the rebelliousness.

618
01:29:27.340 --> 01:29:57.340
that because they feel disappointed in the market and are afraid of the market, they deliberately pass an art that they know is not going to succeed in the market and surrounded with an ideology that says that if it's anti-market, anti-commercial, it must be good art and that is an exaggeration and as I said, I respect in many ways the internal logic

619
01:29:57.340 --> 01:30:04.820
of Modernism. I mean, Schoenberg wrote the way he did because he drew some conclusions

620
01:30:04.820 --> 01:30:12.820
from late Bavarian sonality and the wandering toward state sonality, and especially in prison,

621
01:30:12.820 --> 01:30:19.220
and he was trying to figure out the logic of where music could go from there, and there's

622
01:30:19.220 --> 01:30:27.220
a strong sense of the economy of art in modernism, and what these artists would claim is we are

623
01:30:27.220 --> 01:30:40.220
Following out the logic of this art from the market, we will not take in our devotion, see what the music demands just to please the public.

624
01:30:40.220 --> 01:30:49.220
That's the self-presentation of modernism and that's the way it's been understood for many years and I was brought up on that argument and in some ways it's still accepted.

625
01:30:49.220 --> 01:30:58.220
The Federalist was just so tentative to consider the alternative that what he realized is he never was going to be Wagner.

626
01:30:58.220 --> 01:31:06.220
Why, if he might endure a leader, add as many trombones as he could, and conquer the plume, he could never outdo Wagner.

627
01:31:06.220 --> 01:31:14.220
And so he came up with an explanation of the dark that would make a virtue out of his necessity, or make a virtue out of his loss.

628
01:31:14.220 --> 01:31:39.820
How Boehm actually suggests that in his theory of revisionary ratios, for example, is that, you know, Boehm talks about how one strategy of all this is, what is more, that you're faced with a tremendous platonic powering, part of such a genius, and so you make austerity a feature of your art.

629
01:31:39.820 --> 01:32:09.820
This is very well explained in Ludwig that Thunberg tried to outbounder Boehm-Bawerk in his own book, both harmonically and in terms of scale, the girl leader requires a large orchestra, and even about human opera, and there's a certain sense to which Thunberg failed at that, so he says if I can't beat him in harmony, I'll take harmony out of my works entirely, and make him sound sort of simple-minded by comparison. So I ask you to take this other perspective on it considering.

630
01:32:09.820 --> 01:32:24.820
Yeah, yeah. Okay, all right. I mean, I find the word enjoyable. Enjoying horseback, watching

631
01:32:24.820 --> 01:32:32.820
Dan Sucker for an hour and 45 minutes, I'm going to kill myself. I love it, too. I love

632
01:32:32.820 --> 01:33:02.820
I love the original group in the play, and I love the opera, and I really do like what I said, I don't know Lulu well enough, but I love his violence in general, for example, and the lyrics to me, so I do know Baird's music, but Baird is often regarded as the sell-out in the second day of the school, that Dayburn really was the boat of the sunburn and carried out a lot of the music, and to say that Baird was the one who commercialized itself, because he made a compromise,

633
01:33:02.820 --> 01:33:14.820
In the Stenberg's 12 tone system, you must always avoid harmony at all costs, even if it falls upon you that the 12 tone row will generate some harmony, you must be ready to avoid it.

634
01:33:14.820 --> 01:33:26.820
There are harmonic moments in the Baird Violin Concerto, for example, that make it difficult for you to box around, for example, in the Violin Concerto, and Stenberg wouldn't allow that.

635
01:33:26.820 --> 01:33:34.180
So, it is funny that people will complain, oh, Alvar Baer, that's commercial 12-12 music.

636
01:33:34.180 --> 01:33:43.420
On the other hand, he's by far the most successful of the three people, who really do like to listen to those violins compared to some of the...

637
01:33:43.420 --> 01:33:47.780
Yeah, and that's more accessible, that bams it in terms of modern aesthetics.

638
01:33:47.780 --> 01:33:56.780
So, you know, Baird is a complicated case, as I would have to, again, I take in several issues that I do face with optimism.

639
01:33:56.780 --> 01:34:06.780
But again, I find it really interesting in that case that a lot of the really hardcore musicological types will say, you know,

640
01:34:06.780 --> 01:34:09.780
Bird, he stole the...

641
01:34:09.780 --> 01:34:14.780
Bird went hungry, by the way, he said.

642
01:34:14.780 --> 01:34:16.780
Yes.

643
01:34:16.780 --> 01:34:20.780
I was wondering what you thought of your arm-defeating,

644
01:34:20.780 --> 01:34:23.780
how did that affect your career?

645
01:34:23.780 --> 01:34:28.780
Well, I mean, I, you know, it didn't seem nice to get a nice or soft to hear on that,

646
01:34:28.780 --> 01:34:31.780
so I won't say some of the things that are right on the wall.

647
01:34:31.780 --> 01:34:39.940
are, you know, to me that part of the, on the one hand, is part of the silliness of modern

648
01:34:39.940 --> 01:34:45.620
siloology that we're now supposed to believe that graffiti is art. However, it does occur

649
01:34:45.620 --> 01:34:51.300
to me, in many cities today, you see beautiful art posted on walls, and you see this, and

650
01:34:51.300 --> 01:34:57.380
it's representational. And so, some of this street art is actually rebelling against what

651
01:34:57.380 --> 01:35:02.900
of Modernism, you know, if it's just someone telling me, oh, it's outsider art and it's

652
01:35:02.900 --> 01:35:08.900
rebellious, and look, they painted a curse word on the wall, that's great art, to mean

653
01:35:08.900 --> 01:35:12.900
that they're reducting that assertive of much modernist ideology, but if you're referring

654
01:35:12.900 --> 01:35:17.900
to the fact that many cities today, these students gloriously represent art, often of

655
01:35:17.900 --> 01:35:24.900
an opposite nature, you can sort of tell the neighborhood from what the, is that what you

656
01:35:24.900 --> 01:35:25.900
mean by graffiti?

657
01:36:25.900 --> 01:36:29.900
and the quality of some of this art that you see and around the world.

658
01:36:29.900 --> 01:36:33.900
I'm just trying to think where I most need to explore a remarkable example of it

659
01:36:33.900 --> 01:36:36.900
and I'm kind of blanking out on it. Oh, Rio!

660
01:36:36.900 --> 01:36:41.900
When I was in Rio last fall, there was this amazing mural

661
01:36:41.900 --> 01:36:46.900
of the girl from Ipanema 40 years later.

662
01:36:46.900 --> 01:36:52.900
This girl was a remarkably clever idea. It was in this Ipanema's flair.